Outspoken Session Plans

Total Page:16

File Type:pdf, Size:1020Kb

Outspoken Session Plans OUTSPOKEN SESSION PLANS WELCOME Outspoken was a performance and workshop project toured by TAG, exploring the story of a boy who stammers and his experiences through school. The project was the result of a partnership between TAG and the British Stammering Association Scotland, with main funding from the Scottish Arts Council and ScottishPower. This DVD and downloadable session plans are aimed at Personal and Social Education classes in S1 or S2 and explore issues of citizenship, diversity, self esteem and respect. Choose and adapt whichever tasks best suit your needs. These are the Health and Wellbeing experiences and outcomes of the Curriculum for Excellence that the activities develop: I can expect my learning environment to support me to: • Develop my self awareness, self-worth and respect for others. • Meet challenges, manage change and build relationships. • Experience personal achievement and build my resilience and confidence. • Understand and develop my physical, mental and spiritual wellbeing and social skills. • Learn about where to find help and resources to inform choices. • Acknowledge diversity and understand that it is everyone’s responsibility to challenge discrimination. Mental and emotional wellbeing I understand that there are people I can talk to and that there are a number of ways in which I can gain access to practical and emotional support to help me and others in a range of circumstances. I understand that my feelings and reactions can change depending upon what is happening within and around me. This helps me to understand my own behaviour and the way others behave. I know that friendship, caring, sharing, fairness, equality and love are important in building positive relationships. As I develop and value relationships, I care and show respect for myself and others. I understand that people can feel alone and can be misunderstood and left out by others. I am learning how to give appropriate support. Social Wellbeing I recognise that each individual has a unique blend of abilities and needs. I contribute to making my school community one which values individuals equally and is a welcoming place for all. As I explore the rights to which I and others are entitled, I am able to exercise these rights appropriately and accept the responsibilities that go with them. I show respect for the rights of others. Plot summary The main character in Outspoken is called Danny and the whole play follows him through primary and into secondary school. Danny is funny, down to earth and a great storyteller. He also has a stammer. The start of the play sees Danny being frustrated at not being able to speak easily at primary school and his teacher alerting his dad. Danny visits a speech and language therapist, Miranda, where he enjoys playing with the toys and games, but doesn’t really see how this is supposed to help. Stammering continues to trouble him on and off, and becomes more of a problem in secondary school. On the first day of school, he runs into Big Graham and Wee Jamesy who bully him about the way he speaks until he sets his dog Stanley on them. Then they accept Danny who becomes ‘one of the boys’ and bullies lots of other people like they do. Another pupil, Sandra is keen on Danny but doesn’t think much of his reliance on Graham and Jamesy. Then along comes new boy Cameron who stammers as well but has a much more relaxed attitude to it. Cameron is confident and smart. He likes reading out in class, he sticks up for himself, he successfully auditions for the school play and he gets on with Sandra. Danny hates him. Eventually he gets Graham and Jamesy to beat Cameron up, but things don’t turn out quite as planned. Danny finds he has a choice to make – should he stay one of the boys or start to be his own man? By selecting DVD Section 8 you can watch the whole play (lasting 40 minutes). Alternatively the session plans below explore four key episodes. Outspoken features three actors who play a range of different characters with no costume changes and only using two chairs and a microphone. SESSION ONE - 50 minutes EXPLORING ATTITUDES WHAT IS STAMMERING? Ask the class and then give them the definition: Stammering can be a serious communication difficulty. It usually starts in early childhood when children are learning to talk. It affects 5% of young children and 1% of older children and adults. People who stammer may repeat or stretch speech sounds or find their speech is blocked completely and they can’t get a word out. This can result in forcing speech out in a tense way, changing words, saying less or not speaking at all. Many people who stammer feel embarrassed and frustrated that they can’t express themselves as they want to. AGREE, DISAGREE Present the statements below to the class. Those who agree raise a hand. Those who disagree keep their hand down. Those who don’t know wobble hand in ‘maybe/maybe not’ motion. Tease out people’s attitudes and beliefs. • People stammer because they’re nervous • People who stammer are less intelligent • People who stammer could stop if they tried hard enough We’re going to think about these statements again after watching the DVD. In this section we meet the main character Danny and two other boys, Graham and Jamesy. Does what you see confirm what you think about the above statements or change your mind? Watch DVD Section 1 (lasting 4 minutes) Re-visit the Agree/Disagree statements • People stammer because they’re nervous – FACT: People who stammer are no more nervous than the rest of us, but thinking you might stammer can make you nervous. • People who stammer are less intelligent – FACT: No, they’re as varied as the whole population. Some very clever thinkers have stammered, eg, Charles Darwin and Isaac Newton. • People who stammer could stop if they tried hard enough – FACT: No. The more you try not to stammer, the more it happens. Sometimes you can control your stammer but it takes a lot of concentration. Imagine you had to speak in a foreign language you didn’t know very well all day – it would take that much concentration to control stammering. Whole Class Explore: • What’s Danny’s attitude to his stammering? How does he deal with it? • Danny talks about the ‘food chain’ in school where you have to bully someone or be bullied. How true do you think this is? The next section of the DVD introduces another character, Cameron, who also stammers but has a different attitude to it. What does Danny think of him? Right at the end of the section we meet Sandra, what’s her reaction to Danny and his behaviour? Watch DVD Section 2 (lasting 4 and a half minutes) CAUGHT IN THE MOMENT When Cameron is being forced to move from his seat by Graham and Jamesy he asks Danny, ’What do you think I should do? Do you think I should move?’ Draw an outline of Danny on the board. Ask pupils, at this moment: • What is Danny feeling? Write comments inside the body part of the outline. • What is Danny thinking? Write comments inside or around the head. • What are Danny’s options here? • Imagine you were Danny in this situation. What would you do? • What are the pros and cons of being pals with Graham and Jamesy? GOING AGAINST THE CROWD Think of a time when you, or someone you know, decided NOT to do what the rest of the crowd were doing. List the qualities you need to be able to do this. The third section of the DVD starts with Danny telling us he’s set up Graham and Jamesy to beat up Cameron in a park. But in this scene Danny has a change of heart. Why do you think this happens? Watch DVD Section 3 (lasting 4 minutes) Pairs explore: • Why do you think Danny shakes Cameron’s hand instead of punching him? • What do you think the other characters’ reaction to this would be? Watch the fourth section of the DVD where Danny talks about going back to see Miranda, his speech and language therapist. Think about what’s changed for Danny from the beginning to the end of the play, in terms of: - how he feels about himself - how he feels about other people - how he feels about his stammering Watch DVD Section 4 (lasting 2 minutes) So what has changed for Danny? Look back at the qualities you listed in Going Against the Crowd. Which characters in the play have them, do you think? SESSION TWO – 50 minutes EXPLORING DIFFERENCE FITTING IN OR STANDING OUT? Danny wanted to fit in, not stand out. As a whole class explore the question: when is it okay to be different? You might talk about: • What kind of differences are okay? • Who decides what is and what isn’t ‘okay’ - who makes up the rules? • Why do people not want to stand out? • Can you think of some famous people who are not afraid to stand out/be different/do things their own way? Here are some well known characters who were, or are, real individuals: Charles Darwin, Marilyn Monroe, Winston Churchill, Tiger Woods. Did you know that something else they all have in common is that they had / have a stammer? WHAT MAKES YOU DIFFERENT? (Optional extra activity) Personal writing - could be an interconnected writing task carried out in conjunction with the English department. Explore what makes you different - in a positive way - to everyone else in the room.
Recommended publications
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • Edinburgh International Festival Society Papers
    Inventory Acc.11779 Edinburgh International Festival Society Papers National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland BOX 1 1984 1. Venue letting contracts. 2. Australian Youth Orchestra. 3. BBC Orchestra. 4. Beckett Clurman. 5. Black Theatre 6. Boston Symphony 7. Brussels Opera 8. Childrens Music Theatre 9. Coleridges Ancient Mariner 10. Hoffung Festival BOX 2 1984 11. Komische Opera 12. Cleo Laine 13. LSO 14. Malone Dies 15. Negro Ensemble 16. Philharmonia 17. Scottish National 18. Scottish Opera 19. Royal Philharmonic 20. Royal Thai Ballet 21. Teatro Di San Carlo 22. Theatre de L’oeuvre 23. Twice Around the World 24. Washington Opera 25. Welsh National Opera 26. Broadcasting 27. Radio Forth/Capital 28. STV BOX 2 1985 AFAA 29. Applications 30. Amsterdam Baroque Orchestra/Netherlands Chamber Orchestra 31. Balloon Festival. 32. BBC TV/Radio. 33. Le Misanthrope – Belgian National Theatre 34. John Carroll 35. Michael Clark. BOX 3 36. Cleveland Quartet 37. Jean Phillippe Collard 38. Compass 39. Connecticut Grand Opera 40. Curley 41. El Tricicle 42. EuroBaroque Orchestra 43. Fitzwilliam 44. Rikki Fulton 45. Goehr Commission 46. The Great Tuna 47. Haken Hagegard and Geoffery Parons 48. Japanese Macbeth 49. .Miss Julie 50. Karamazous 51. Kodo 52. Ernst Kovacic 53. Professor Krigbaum 54. Les Arts Florissants. 55. Louis de France BOX 4 56. London Philharmonic 57. Lo Jai 58. Love Amongst the Butterflies 59. Lyon Opera 60. L’Opera de Nice 61. Montreal Symphony Orchestra 62.
    [Show full text]
  • Inventory Acc.13182 Edith Macarthur
    Acc.13182 October 2010 Inventory Acc.13182 Edith Macarthur National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, circa 1942-2006, of Edith Macarthur, actor (b.1926). The collection includes scripts, photographs, press cuttings and other items of theatre and television memorabilia. Edith Macarthur’s stage career has taken her to most major producing theatres in Scotland, and to many in England. The variety of her range is demonstrated in the collection, from her early days with respected amateur company, the Ardrossan and Saltcoats Players, to acclaim with prestigious companies such as the Royal Lyceum, Citizens’, Gateway, Bristol Old Vic, Pitlochry Festival, Traverse and Royal Shakespeare. Leading roles in the canon of major plays by Arthur Miller, James Bridie, Anton Chekhov, Eugene O’Neill, Noel Coward and their like, and various acclaimed productions of ‘The Thrie Estaites’, established her stage reputation. Alongside runs a vein of comedy and variety, from the ‘Five Past Eight Shows’ of the 1950s at the Citizens’, to regularly playing Cinderella’s Fairy Godmother in pantomime during the 1980s and 1990s. There is also a considerable body of television work, from early series such as ‘The Borderers’ and ‘Sutherland’s Law’, and the renowned 1970s adaptation of ‘Sunset Song’, to the long-running Scottish Television soap, ‘High Road’. A milestone was the 1993 film ‘The Long Roads’ by John McGrath. At about this time Miss Macarthur was coming to the attention of less mainstream theatre-producers in Scotland.
    [Show full text]
  • Casting Complete for Goodspeed's Moving New Musical Hi, My Name Is
    NEWS RELEASE FOR MORE INFORMATION, CONTACT: Elisa Hale at (860) 873-8664, ext. 323 [email protected] Dan McMahon at (860) 873-8664, ext. 324 [email protected] CASTING COMPLETE FOR GOODSPEED’S MOVING NEW MUSICAL HI, MY NAME IS BEN A Modern-Day Fairytale About Communication And Connection Hi, My Name is Ben begins May 17 at The Terris Theatre EAST HADDAM, CONN., APRIL 11, 2019: Goodspeed Musicals continues its commitment to innovative, thought-provoking new works with Hi, My Name is Ben, the inspirational true story of one man who impacted the lives of all those around him without speaking a word. Written by Scott Gilmour and Claire McKenzie while in residence at the Johnny Mercer Writers Colony at Goodspeed, this hope-filled musical will run May 17 – June 9, 2019 at The Terris Theatre in Chester, CT. This production is supported in part by the Richard P. Garmany Fund at the Hartford Foundation for Public Giving The true story of one ordinary man and his extraordinary life. From his tiny room in New York City, Bernhardt Wichmann III changed the lives of those around him without ever speaking a word. Using just his notepad, pen and open heart, Ben turned a neighborhood of strangers into a community of friends, before finally encountering a miracle of his own. Featuring an uplifting, folk-inflected score by award-winning Scottish writing team Noisemaker in association with Dundee Rep, one of Scotland’s leading theatres, this is the story of how one man with nothing somehow changed everything. Ben will be played by Joel Rooks, who has performed in several Broadway shows including Fish in the Dark, The Royal Family, Say Goodnight Gracie, Taller Than a Dwarf, The Tenth Man, The Sisters Rosensweig, and Frankie and Johnny in the Clair de Lune.
    [Show full text]
  • Dragonfly Dragonfly
    DRAGONFLY STORYTELLING & STORY A ACTINGCTING FOR EARLY YEARS CHILDREN A COMPREHENSIVE PACK FOR EARLY YEARS STAFF INTRINTRODUCTIODUCTIODUCTIONONONON Dragonfly is an intensive Early Years project that uses creative arts to empower the child. The aims of Dragonfly are to place the child at the heart of his or her own learning and enhance the nursery community, making it a community where the children listen and speak freely. Citizens Learning & TAG has been developing the technique for 2 years now and over 800 children aged 3- 5 years have already participated in our programme. Citizens Learning & TAG is one of the major players in the children and young people’s theatre sector in Scotland. TAG is part of the Citizens Theatre in the Gorbals. This pack has been designed for Early Years teachers to use in the classroom. Included in the pack is a step by step guide to the technique, allowing teachers and nursery staff to gain confidence in their ability. There are also examples of stories that real children have told us. These stories may be useful when the technique is first introduced, as it is useful to have a bank of stories at hand. We hope you enjoy using this pack and find it helpful. Your feedback is always welcome and you can contact Citizens Learning & TAG at any time through our website www.tagwww.tag----theatre.co.uktheatre.co.uk or by phoning Angela Smith on 0141 418 6271. THE PROJECT Dragonfly puts play, storytelling and story acting at the heart of the classroom. Each child is granted the space to be listened to and acknowledged.
    [Show full text]
  • Citizens Theatre and Originally Created with the Traverse Theatre
    Untitled Projects In association with the Citizens Theatre and originally created with the Traverse Theatre. revisited Photography: Tommy Ga-Ken Wan / Design: After the News Untitled Projects In association with the Citizens Theatre and originally created with the Traverse Theatre. * revisited devised by Stewart Laing *“Theatre of conversation and exchange” http://en.wikipedia.org/wiki/salon_(gathering) Citizens Theatre, Glasgow 15th – 23rd March 2013 Inside The Salon Speakers having spent some time discussing war, death, terror and killing in the media, he Host — Stewart Laing Thanks to the Wellcome Trust for their is now producing a book of love stories Salonnière — Muriel Gray support of our Speakers Programme with his friend Lucretia Chauvel, entitled Salonnière — Donna Rutherford Coup de Foudre. Pianist — Edward Cohen Part of Wonder: Art and Science on Gramophone DJ — Jack Wrigley the Brain Friday 15th March 2013 Major Domo — Edd Crawley 2 Mar-10 Apr Dr Fabienne Collignon Photographer — Tommy Ga-Ken Wan A season to light up the mind with film, Half Lives Singer — Ginny Wilson theatre, music, talks and participation. Fabienne Collignon is a Lecturer in #wonderseason Contemporary Literature at the University Guides barbican.org.uk/wonder of Sheffield. She is particularly interested Lorna Duguid, Christine Hamilton, in American techno-culture and machine Nick Millar, Lesley MacDonald, Thursday 14th March 2013 aesthetics. Her work to date focuses Jana Robert, Steve Slater, Dr Fabienne Collignon mainly on cold war dream weapons and Drew Taylor, Emilia Weber Half Lives their implantations in the land. Fabienne Collignon is a Lecturer in Ushers Contemporary Literature at the University Professor Seth Grant Vasso Georgiadou of Sheffield.
    [Show full text]
  • Dundee Rep and Scottish Dance Theatre Limited
    DUNDEE REP AND SCOTTISH DANCE THEATRE LIMITED OUR 2017/2019 JOURNEY TOURED WORKS Innocence by Fleur Darkin, TuTuMucky by Botis Seva, Velvet Petal by Fleur Darkin, Dreamers by Anton Lachky, Process Day by Sharon Eyal and Gai Behar, YAMA by Damien Jalet, RITUALIA by Number of visiting Number of attendees at visiting Number of visiting company Colette Sadler, Looping: Scotland Overdub companies company performances performances TOURING Tramway’s DIG Festival, Didcot in Oxfordshire, Dundee Ignite Festival, Festival Theatre Edinburgh, Dance Live Festival Aberdeen, The Place London, Edinburgh Fringe, Jerwood Dance Space Ipswich, Cannes Dance / 166 / 41,909 / 208 Festival France, Rennes France, Greenock, Woking, Lyceum Edinburgh, Chemnitz, Germany, Luminate Festival, Wick, Mull, Southbank Centre, London, Shanghai International Dance Centre, Shaanxi Grand Theatre, Neuss Germany Number of toured works / 8 Number of performances / 104 Number of attendees at performances / 13,958 Number of productions / 13 Number of performances / 278 Number of attendees at performances / 60,246 Monstrous Bodies written and directed by Sandy Thomson, co-production with Poorboy Ensemble. High-octane celebration of youthful optimism and desire. APR 2017 The List (on Velvet Petal) A new iteration of Velvet Petal, (originally devised as a collaboration with CEPROMusic in Mexico) had its UK premiere at Tramway’s DIG Festival. Following Tramway, Scottish Dance Theatre toured to Didcot in Oxfordshire and took part in the Dundee Ignite Festival, staging two free shows of a more informal and intimate version of the work in the Hannah McClure Centre, which attracted a high proportion of new dance attendees. MAY 2017 Dundee Rep Ensemble awarded three Critics Awards for Theatre in Scotland 17/18 (Best Production, Best Ensemble and Best Male Performance) for Death of a Salesman.
    [Show full text]
  • AMA Scotland
    Culture Republic Royal Scottish National Orchestra University AMA of Glasgow Edinburgh Museums and Galleries Mercat Tours Ltd National Museums Scotland Glasgow Life Dance Base Scottish Scotland Chamber Orchestra Scottish Ensemble Royal Conservatoire of Scotland Culture Perth And Kinross Limited ON with Fife Cultural Trust Cryptic Museums Galleries Scotland Citizens Theatre The Media Shop Scotland The Brunton An Lanntair National Theatre of Scotland Creative Scotland Imaginate Dundee Rep Theatre Scottish Opera Wasps studios Festival & King’s Theatres Edinburgh Lung Ha Theatre Company Dundee Contemporary Arts National Youth Choir of Scotland Leisure and Culture Dundee BBC Scottish Symphony Orchestra Ticketline Perth Theatre & Concert Hall The Gaiety Theatre Cumbernauld Theatre Shetland Arts Development Agency Centre for the Moving Image Eden Court Theatre & Cinema Tron Theatre Edinburgh International Science Festival Puppet Animation Scotland Ambassador Theatre Group Venues Ltd Traverse Theatre YDance Aberdeen Performing Arts Royal Lyceum Theatre Edinburgh The Beacon Museum Red61 Stellar Quines Theatre Company Borderline Theatre Company Youth Theatre Arts Scotland Cultural Enterprise Office Edinburgh International Book Festival Edinburgh Art Festival Scottish Ballet Macrobert Arts Centre Aberdeen City Council Scottish Fisheries Museum Usher Hall Edinburgh International Festival Centre For Contemporary Arts Historic Scotland Falkirk Community Trust “The AMA has been “The AMA works with its Culture Republic Royal Scottish National Orchestra University Join the AMA invaluable in my career and members in Scotland of Glasgow Edinburgh Museums and Galleries Mercat Tours Ltd Join our diverse network of I’m so proud to be giving to help you realise your National Museums Scotland Glasgow Life Dance Base Scottish members working to reach back as a board member.
    [Show full text]
  • A Doll's House
    The National Theatre of Scotland and Royal Lyceum Theatre present SCOTTISH PREMIERE A Doll’s House By Henrik Ibsen, in a version by Zinnie Harris Directed by Graham McLaren Set Design by Robert Innes Hopkins, Lighting Design by Tim Mitchell, Sound Design by Nick Sagar Cast includes: Robert Cavanah, Brian McCardie, Lucianne McEvoy, Kevin McMonagle, Amy Manson, Sharon Young At the Royal Lyceum Theatre, Edinburgh from 16 April to 4 May 2013 Press Performance: Wednesday 17 April at 7.45pm Following the success of the critically acclaimed production The Guid Sisters in 2012, the National Theatre of Scotland is delighted to be working in partnership again with the Royal Lyceum Theatre, Edinburgh to bring this new version of Henrik Ibsen’s A Doll’s House to the Scottish stage for the first time. A stellar cast of Scottish performers has been assembled, with the lead role of Nora being played by Amy Manson. This will mark Amy’s return to the Lyceum, where she won Best Performance (Female) in 2008 for her role in Six Characters in Search of an Author at the Critics' Awards for Theatre in Scotland. Since then she has gone on to enjoy success in British film and television. A Doll’s House caused outrage both in its style and content when first staged in 1879. Zinnie Harris has transposed her version from late 19th-century Norway to Edwardian London and shifted the tale of intrigue, fraud and betrayal from the world of finance to that of politics. Her version has strong contemporary resonances, revealing a world where duty, power and hypocrisy rule, and brings modern sensibilities to bear on Nora’s marriage, at the heart of the play.
    [Show full text]
  • Inventory Acc.12942 Marillyn Gray / Gateway Theatre Papers
    Acc.12942 January 2009 Inventory Acc.12942 Marillyn Gray / Gateway Theatre Papers National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, (1925-1997) of Scottish actor and theatre director Marillyn Gray (1930-2006) referred to as MG in the inventory. The collection chiefly relates to the Gateway Theatre, (1953-1965) in which Marillyn Gray was a regular performer. The Gateway papers came into her care at some point after the theatre closed possibly entrusted to her by, or after the death of, Sadie Aitken (1905-85) Gateway Theatre General Manager, some of whose papers are in the collection. Marillyn Gray was born in Edinburgh, attending Trinity Academy. After serving her apprenticeship at Perth Repertory theatre she had her first major role in 1951 with the Glasgow Citizens’ Spindrift written by Naomi Mitchison and Denis Macintosh, playing alongside Duncan Macrae and Fulton MacKay. Thereafter she became a stalwart at the Gateway Theatre in Edinburgh. She also worked for many years with Jimmy Logan’s variety shows, and made numerous appearances on radio and television. She later taught at the Drama Department of Queen Margaret College in Edinburgh, directing a number of their productions. The Gateway was gifted to the Church of Scotland by local businessman A.G. Anderson in 1944. Under the stewardship of director Rev George Candlish and manager Sadie Aitken it was officially opened as a theatre in October 1946 showing films and inviting companies such as Perth Theatre, Dundee Rep, Glasgow Citizens, and the Scottish National Players to visit.
    [Show full text]
  • Information P Information Pack
    WEEKLY DRAMA CLASSES INFORMATION PACK SPRING & SUMMER TERMS 2018 ABOUT US The Citizens Company was founded in 1943 on the premise that it would be a ‘Citizens theatre in the fullest sense’ and would ‘produce plays which Glasgow playg oers would otherwise not have the opportunity of seeing’. Based at the Royal Princess’Princess’ Theatre on Gorbals Street, a 10 -minute walk south of Glasgow city centre, the theatre was renamed the Citizens Theatre in 1945. Today, the Citizens Theatre is the major producing theatre for Glasgow and the West of ScotlScotlaandnd and is internationally renowned for the quality of its productionsproductions and its year round programme of education and outreach activity. The Citizens Learning department produces a wide range of educatio nal activities for both adults and children. They also run two non-professional theatre companies: the Community Collective and the Young Co. citz.co.uk Follow the drama classes on twitter to get up to date information and alerts: @citzlearning Like us on Facebook to receive important information about our Drama Classes. Please note – we are trying to be more environmentally friendly. Therefore, we will be using our Facebook page and email as our main way to correspond with our participants and their families. https://www.facebook.com/citzdramaclasses WEEKLY CLASSES Our weekly drama class programme is split into several different age groups. These classes run as follows: Saturdays 4-5 years 10:00-11:00am &12:30-1:30pm 6-8 years 10:15-11:30am, 11:15-12:15pm &2:45-3:45pm 9-11 years 10:15-11:45am, 11:45-1:15pm & 2:45-4:15pm 12-14 years 12:00-1:30pm 15-18 years 2:45-4:15pm Sundays 4-5 years 10:00-11:00&12:30-1:30pm 6-8 years 10:15-11:30am, 11:15-12:15pm & 2:30-3:30pm 9-11 years 10:00-11:30am, 11:45-1:15pm 12-14 years 11:45-1:15pm & 2:30-4:00pm 15-18 years 2:30 – 4:00pm There are 3 terms per year, each usually lasting 8-10 weeks.
    [Show full text]
  • Scotland's Theatre Architecture
    Theatres are an important part of Scotland’s cultural, social and architectural history. Each has its own story to tell. In 2008-9 Historic Scotland undertook a thematic study of Scotland’s historic theatre buildings, working closely with The Theatres Trust. This booklet celebrates the architects and styles of our theatres. ACTING WITH CONFIDENCE Scotland’s Theatre Architecture ISBN 978-1-84917-038-3 H1.611 The House Produced from sustainable material sustainable from The House Produced H1.611 Theatres are an important part of Scotland’s cultural, social and architectural history. Each has its own story to tell. In 2008-9 Historic Scotland undertook a thematic study of Scotland’s historic theatre buildings, working closely with The Theatres Trust. This booklet celebrates the architects and styles of our theatres. ACTING WITH CONFIDENCE Scotland’s Theatre Architecture ISBN 978-1-84917-038-3 H1.611 The House Produced from sustainable material sustainable from The House Produced H1.611 A stonework detail from The King’s Theatre, Edinburgh 2 THEATRES Scotland’s Theatre Architecture Stained glass in the entrance doors of the Universal Hall, Findhorn THEATRES Scotland’s Theatre Architecture 3 Foreword Theatres are an important part of Scotland’s cultural, social and architectural history and as venues they have played a key role in the development of our performing arts. They range from prominent and highly distinctive buildings which give character and expression to our streetscapes, through to near-hidden structures which nonetheless frequently conceal wonderfully decorative interiors. Each has its own history, its own personality, its own triumphs and tragedies.
    [Show full text]